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Peeter Cornet was organist of the chapel of Archdukes Albert and Isabella at the Spanish court of Brussels from the beginning of the 17th century until his death in 1633 (he is buried at the Notre-Dame du Sablon church, in Brussels). Many details of his biography remain unknown, in particular his birthdate, which is estimated around 1575. Multiple influences can be found in the works of Cornet, thereby attesting to the very real role Brussels had as European capital even at the time. The Toccata noni Toni (Nielles-les-Ardres, track n°1) and one of the Fantasia Ottavit toni (Nielles-les-Ardres, track n°3) are in direct relation with Italian music, while another Fantasia of Ms Christ Church 89 (Nielles-les-Ardres, track n°16) is a true Tiento de medio de registro de baxon, whose kinship to the work of Sebastian Aguilera de Heredia is obvious. The long Fantaisies, contemporary to the pieces of Jan Pieterszoon Sweelinck, follow a specific canon. They are polythematic; not only does the composer build successive sequences on various motifs, but he also introduces a sort of “counter-subject” which isn’t treated overly strictly as a counterpart to the principal subject, but rather takes its independence and becomes a subject in its own right. Arnaud Van de Cauter is organist at Notre-Dame du Sablon, in Brussels. He studied in Belgium (H. Schoonbroodt – Conservatoire royal de Bruxelles), France (Jean Boyer – CNR Lille) and Germany (Harald Vogel – Noorddeutsche Orgelakademie).